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Iwo Jima flag-raising photographer dies

Hondo

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Iwo Jima flag-raising photographer dies

This is really sad, what a great guy, R.I.P. Joe

SAN FRANCISCO - Photographer Joe Rosenthal, who won a Pulitzer Prize for his immortal image of six World War II servicemen raising an American flag over battle-scarred Iwo Jima, died Sunday. He was 94.

Rosenthal died of natural causes at an assisted living facility in the San Francisco suburb of Novato, said his daughter, Anne Rosenthal.

“He was a good and honest man, he had real integrity,” Anne Rosenthal said.

His photo, taken for The Associated Press on Feb. 23, 1945, became the model for the Iwo Jima Memorial near Arlington National Cemetery in Virginia. The memorial, dedicated in 1954 and known officially as the Marine Corps War Memorial, commemorates the Marines who died taking the Pacific island in World War II.

The photo was listed in 1999 at No. 68 on a New York University survey of 100 examples of the best journalism of the century.

The photo actually shows the second raising of the flag that day on Mount Suribachi on the Japanese island. The first flag had been deemed too small.

“What I see behind the photo is what it took to get up to those heights — the kind of devotion to their country that those young men had, and the sacrifices they made,” Rosenthal once said. “I take some gratification in being a little part of what the U.S. stands for.”

He liked to call himself “a guy who was up in the big leagues for a cup of coffee at one time.”

A near miss
The picture was an inspiration for Thomas E. Franklin of The Record of Bergen County, N.J., who took the photo of three firefighters raising a flag amid the ruins of the World Trade Center on Sept. 11, 2001. Franklin said he instantly saw the similarities with the Iwo Jima photo as he looked through his lens. Franklin’s photo, distributed worldwide by the AP, was a finalist in 2002 for the Pulitzer Prize in breaking news photography.


Joe Rosenthal / AP
U.S. Marines of the 28th Regiment of the Fifth Division raise the American flag atop Mt. Suribachi, Iwo Jima, on Feb. 23, 1945. Photographer Joe Rosenthal won a Pulitzer Prize for the immortal image.


The small island of Iwo Jima was a strategic piece of land 750 miles south of Tokyo, and the United States wanted it to support long-range B-29 bombers and a possible invasion of Japan.

On Feb. 19, 1945, 30,000 Marines landed on the southeast coast. Mount Suribachi, at 546 feet the highest point on the island, took four days for the troops to scale. In all, more than 6,800 U.S. servicemen died in the five-week battle for the island, and the 21,000-man Japanese defense force was virtually wiped out.

Ten years after the flag-raising, Rosenthal wrote that he almost didn’t go up to the summit when he learned a flag had already been raised. He decided to up anyway, and found servicemen preparing to put up the second, larger flag.

“Out of the corner of my eye, I had seen the men start the flag up. I swung my camera and shot the scene. That is how the picture was taken, and when you take a picture like that, you don’t come away saying you got a great shot. You don’t know.”

“Millions of Americans saw this picture five or six days before I did, and when I first heard about it, I had no idea what picture was meant.”

He recalled that days later, when a colleague congratulated him on the picture, he thought he meant another, posed shot he had taken later that day, of Marines waving and cheering at the base of the flag.

He added that if he had posed the flag-raising picture, as some skeptics have suggested over the years, “I would, of course, have ruined it” by choosing fewer men and making sure their faces could be seen.

http://www.msnbc.msn.com/id/14446355/
 

Twitch

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Salute!
 

MrBern

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God bless him, he had a long life & one truly great photo.

I want to point out one detail from the NYT obit:
http://www.nytimes.com/2006/08/21/business/media/22rosenthalcnd.html

At the time the United States entered World War II, Mr. Rosenthal was a photographer in the San Francisco bureau of The Associated Press.
After being declared 4-F by the armed forces because he could see only one-twentieth as well as an average person, Mr. Rosenthal joined the United States Maritime Service, taking photos of Atlantic Ocean convoys.
 

FedoraGent

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He was a hell of a guy...

Joe Rosenthal was a hell of a guy and one heck of a photographer. For years, he showed us San Francisco and many, many other places that captured his imagination using that wonderful eye of his. He was a great San Franciscan and the Chronicle has never been the same without him.

Look at it this way Joe, up by the pearly gates there's no editor hounding copy...

RIP Ol' Boy, you deserve it.

FG.
 

Hondo

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4-F

MrBern said:
God bless him, he had a long life & one truly great photo.

I want to point out one detail from the NYT obit:
http://www.nytimes.com/2006/08/21/business/media/22rosenthalcnd.html

At the time the United States entered World War II, Mr. Rosenthal was a photographer in the San Francisco bureau of The Associated Press.
After being declared 4-F by the armed forces because he could see only one-twentieth as well as an average person, Mr. Rosenthal joined the United States Maritime Service, taking photos of Atlantic Ocean convoys.

Thanks Mr.Bern, Joe was a real deal, hero for going with his guts, feeling, wanting to serve his nation,
FedoraGent: Thanks as well, I read the S.F.Chronicle, almost daily, geez how I miss Herb Caen, those were the days :(

God Bless them both...
 

airfrogusmc

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What did I read? 1/400 of a second at F/11 on a Speed graphic 4X5 probably tri X film for that exposure. Great photograph and I was just about to that part of the book Flags of our Fathers when I heard the news.
 

FedoraGent

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Hondo said:
Thanks Mr.Bern, Joe was a real deal, hero for going with his guts, feeling, wanting to serve his nation,
FedoraGent: Thanks as well, I read the S.F.Chronicle, almost daily, geez how I miss Herb Caen, those were the days :(

God Bless them both...

Doggone right they were the good ol' days. Pat Steiger, Art Hoppe, Herb Caen, Joe Rosenthal...you betcha.

FG.
 

MrBern

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airfrogusmc said:
What did I read? 1/400 of a second at F/11 on a Speed graphic 4X5 probably tri X film for that exposure. Great photograph and I was just about to that part of the book Flags of our Fathers when I heard the news.

No not tri-x.
Maybe DoubleX or PlusX
Kodak didnt debut Tri-x til the mid `50s.
 

airfrogusmc

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Tri x roll film was introduced in the 50s but their sheet film (4X5, 8X10 etc) which is what that neg is what was around in the early 40s from what I understand. Or he pushed double or plus X because as we all know the sunny 16 rule 1/125 at 16 on a sunny day 100 asa. So F/11 at 1/400th would give him an exposure index of about 320 using that as a guide, Right?
 

MrBern

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airfrogusmc said:
Tri x roll film was introduced in the 50s but their sheet film (4X5, 8X10 etc) which is what that neg is what was around in the early 40s from what I understand. Or he pushed double or plus X because as we all know the sunny 16 rule 1/125 at 16 on a sunny day 100 asa. So F/11 at 1/400th would give him an exposure index of about 320 using that as a guide, Right?

Ah, you know I always assume those guys used packfilm. I know there was no tri-x packfilm back then. I hadnt thought he might be using sheetfilm.
Thanks for pointing out Tri-x was available in that form back then.
But even so, it was probably slower than 320.
I think pushing film was pretty common back then. all those old photogs had cookbooks on developing. Not like today where B&W gets relegated to a coupel standard temps in D76.

As for Sunny16rule,dont you add a stop or two for tropical summer sun?
-b
 

airfrogusmc

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Yeah but I remember reading Joe said it was an overcast day but not thick soup overcast so open up a couple stops and that would probably put it at 1/400 at F 11 at exposure index of around 320 which if I'm not mistaken was the EI of tri X professional sheet film. But I'm not 100% sure thats what he used just a guess. I'm not even 100% sure it was available then. I do know that Ansel Adams used that film his own dulution of HC 110 but I'm not 100% sure it was available then. Just really a guess because of the exposure.
 

airfrogusmc

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MrBern I found this on B&W photo Film and processing forum

Conrad Hoffman , oct 17, 2002; 10:15 p.m.
I have a 1940 Kodak Reference Handbook with a film section. The speed numbers are a bit baffling as they give a Kodak number, a Weston number, and a GE number. No idea if the Kodak number is similar to ASA, but they seem too high. Check a conversion table. Here are the numbers in that same order. Panatomic X: 125, 24, 40. Super-XX: 400, 80, 128. Plus-X: 200, 40, 64. Tri-X sheet: 640, 128, 200. Super Panchro Press: 500, 100, 160. They also list slightly higher Weston and GE numbers for "somewhat less dense negatives preferred by many workers". Not sure if any of this is useful or not. Check the Focal Encyclopedia for much more info on speed conversions.
 

airfrogusmc

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The really sad part of it was the fighting on Iwo had only really just begun. 3 of the six flag raisers in the famous second photo went on in the following days to get KIA. Of the three that survived only one would live to retirement age... Any man that was on that island during that battle is in my opinion a true hero!!!!
 

MrBern

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airfrogusmc said:
MrBern I found this on B&W photo Film and processing forum

Conrad Hoffman , oct 17, 2002; 10:15 p.m.
I have a 1940 Kodak Reference Handbook with a film section. The speed numbers are a bit baffling as they give a Kodak number, a Weston number, and a GE number. No idea if the Kodak number is similar to ASA, but they seem too high. Check a conversion table. Here are the numbers in that same order. Panatomic X: 125, 24, 40. Super-XX: 400, 80, 128. Plus-X: 200, 40, 64. Tri-X sheet: 640, 128, 200. Super Panchro Press: 500, 100, 160. They also list slightly higher Weston and GE numbers for "somewhat less dense negatives preferred by many workers". Not sure if any of this is useful or not. Check the Focal Encyclopedia for much more info on speed conversions.

Airfrogusmc,
This is so confusing, but we're in good company.

On Photo.net, I found posts about Kodak's 50s anniversary for tri-x in `04.
http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=006RJc&tag=
They received no reply from Kodak asking about the `40s sheet tri-x in catalogues.
One person found the `46 kodak databook listing for Tri-x, but its a 200 asa emulsion.
 

airfrogusmc

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Yeah it can be very confusing. I know that Adams liked the 320 tri-x with a special dilution of HC 110 but I'm not sure when he started shooting with tri-x 320 professional. I always thought that the late 30s early 40s stuff was all shot on that emulsion but maybe I'm wrong.
 

MrBern

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airfrogusmc said:
Yeah it can be very confusing. I know that Adams liked the 320 tri-x with a special dilution of HC 110 but I'm not sure when he started shooting with tri-x 320 professional. I always thought that the late 30s early 40s stuff was all shot on that emulsion but maybe I'm wrong.

Generally, I've always thought of those classic photogs shooting slow ASA fine grain emulsions. Grainy shots werent so cool back then & the printing process at newspapers & magazines wasnt very forgiving.

As for ansel Adams, he used a lot of gear & even dabbled in color w/a hassleblad.
I believe his famous Moonrise over NewMexico shot was an ASA64 B&W film.
But he wasnt doing action.
A combat photog in WWII couldnt use a tripod or flashbulb in an invasion.
 

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